As an oral tradition, it is important to note that the new “compositions” of Korean traditional music have been created either by adding new melodies to existing repertoire or by creating variations on existing melodies. In fact performers, rather...
As an oral tradition, it is important to note that the new “compositions” of Korean traditional music have been created either by adding new melodies to existing repertoire or by creating variations on existing melodies. In fact performers, rather than composers, have relied heavily on these creative sources, and they are the ones who have constantly developed a variety of performance techniques and melodic variations unique to each instrument and its idiomatic expression. The current study scrutinizes the creative principles of Korean traditional music reflecting on the transformational process of geomungo technique from multi-faceted perspectives from the late Joseon Dynasty to the present, drawing upon the interrelationships between historical time periods and aspects of musical transformation. By examining aspects of both chronological and musical changes, the analysis is based on Mandaeyeop, Jungdaeyeop and Sakdaeyeop which appeared in Geumbo, the geomungo Manuscripts, as practiced from the sixteenth century to present time. Such comparative analysis has found that a great degree of variety of geomungo performance techniques were employed particularly in the 17th and 18th centuries, in contrast to present performance practices.
First, according to the representative Geumbo(s) from the 16th to the 20th centuries, a total of 31 types of geomungo techniques were indicated, including those of the 7 types on the open strings, and 31 types of stopped techniques for the fingers of the left hand. During the 16th century, only 14 types had been used, but by the 17th and 18th centuries, the increased number of techniques that were developed including 25 new ones added in the manuscripts, creating total number of 34, including the pre-existing ones. However, by the 19th and 20th centuries almost half of the techniques disappeared, with only 15 types remaining, which has continued to the present time. This suggests that the 17th and 18th centuries should be considered as the heyday period for geomungo music.
Second, in the 16th century, during which Mandaeyeop(extremely slow music with simple and gallant melodies) was popular over Jungdaeyeop(medium tempo music) and Sakdaeyeop(relatively fast tempo music), open string techniques were most often employed with minimal use of the left hand stopped techniques. By the 17th and 18th centuries, all three pieces were equally popular, but the length of the melodies in both Jungdaeyeop and Sakdaeyeop drastically increased to more than double. In particular, the stopped techniques of the left hand in Jungdaeyeop were developed to a noticeable degree while the use of the open string techniques decreased. In the case of Sakdaeyeop, changes of the left hand technique were relatively small in number in comparison to Jungdaeyeop where new, added melodic phrases were evident. This concludes that the use of left hand technique was minimized in Sakdaeyeop because of its relative fast tempo.
Third, in terms of nonghyeon(vibrato or pitch gestures), a great variety and number were practiced during the 17th and 18th centuries in comparison to present-day performance practice where minimal use has become the norm for geomungo performance in Jeongak [Korean classical genre]. According to Hangeumsinbo [New Manuscript of geomungo] and SinjakGeumbo [geomungo Manuscript for New Composition] of the 18th century, a total number of 14 types, including uret-sori, toeseong(a pitch with a downward slide), chuseong(a pitch with an upward slide), jeo-seong(front sliding), were considered techniques delivered by the fingers of the left hand.
Fourth, the use of the open strings decreased drastically because yeokanbeop(types of stopped techniques where the strings on the frets are pushed down by the ring, middle, index fingers and thumb of the left hand) and other techniques of the left hand were developed. In geomungo playing it is a known fact that prior to the 16th century, the gyeonganbeop(types of the left hand techniques placing the finger on the string to create a specific pitch) was the norm which was gradually replaced by the yeokanbeop, resulting in less use of the open strings. By introducing new geomungo playing with yeokanbeop, a variety of pitch gestures and inflections, including nonghyeon and yoseong(vibrating pitches), were also developed as melodic decoration. The role of the open strings, as reflected in current performance practice, was minimized in support of primary pitches and helped to create a wide range of dynamics indicating the beginning and ending of a piece.
Fifth, by the same token, the role of the open strings was transformed. During the 16th century, gaecheongbeop(open string techniques) was used as the ending note, and by the 17th and 18th centuries, as one of the drone strings, both munhyeon(the first string) and gaecheongbeop were used as the ending note. However, by the 19th century, gaecheongbeop disappeared and since then, munhyeon has been used in the beginning of each melodic section while the cheong strings were employed in the ending sections.
Sixth, analyzing the melodic variations in the same piece reveals that two approaches were used. First, the same pitch might be repeated two, three or four times, and second, pitches moving in sequence were added above and below the primary pitch.
The resulting observations through close examination of aspects of geomungo technique during the late Joseon Dynasty, is that transformations are particularly evident in the 17th and 18th centuries. Such changes can be found in the development of the techniques of yeokanboep and Sakdaeyeop as a parallel to the emergence of the middle class and their patronage for the arts, reflecting socio-economic changes. In terms of musical transformation among all three pieces, Jungdaeyeop’s characteristics are striking in their reflection of Confucian philosophy, that the arts should be used in life with restriction and control, and the piece demonstrates musical equality in its ideology, medium tempo and subtleties of pitch gestures of the left hand. Toward the end of the 18th century, it is also assumed that an ideology of arts for the sake of the control of life was also transformed for the purpose of entertainment in the culture of pungryu(leisure and enjoyment of the arts) which was growing rapidly in the pungryubang(private salons or gathering places for upper and middle class men). The changes of musical style with a preference for fast tempo and the increased use of left hand techniques also points to an interest to maximize the instrumental idioms and expression.
However, toward the early 19th century, the popularity and subtlety of performance practice of Mandaeyeop, Jungdaeyeop and Sakdaeyeop decreased and was then replaced by the new derived compositions and variations of the three. During the 18th century musicians seemed to focus on developing new techniques by refining and enhancing melodic components rather than creating new pieces, corresponding to the demand of pungryu culture of the time.
Finally, in this dissertation, the analysis of the transformation of geomungo technique is observed by the chronological changes in the three pieces, Mandaeyeop, Jungdaeyeop and Sakdaeyeop. However, further studies are possible and encouraged in the transformations of other pieces, helping to shed light on the process of the development and historical flow of geomungo technique, and the entire creative process of Korean traditional music.
，韩语论文范文，韩语毕业论文 |
